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Line of Duty – Ep.5

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LINE OF DUTY

EP.5

POST PRODUCTION SCRIPT


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MUSIC IN 5M1 10:00:00 RECAP IN

CAPTION: PREVIOUSLY (OVER BLACK)

10:00:03 ARNOTT crying out in pain as RYAN tries to cut his finger off with the bolt cutters.

CUT TO:

10:00:05 GATES steps out of the disused building whilst talking on the mobile.

GATES This is Gates. He can hear ARNOTT crying out from inside the building.

10:00:07 CREDIT OVER BLACK: LENNIE JAMES GATES (CONT) What you wanted, it’s happening, now you gotta give me Jackie’s body. TOMMY (V.O.) What? And ruin our relationship?

10:00:14 CREDITS OVER BLACK: MARTIN COMPSTON VICKI McCLURE CUT TO:

10:00:17 GATES talks to ARNOTT outside the derelict building. GATES It isn’t about me versus you anymore. I’m sorry.

10:00:22 TITLE OVER BLACK: LINE OF DUTY CUT TO:

10:00:24 ARMED POLICE fire their weapons. OSBORNE (V.O.) I take pride CUT TO:

10:00:25 KARIM ALI lying dead on the ground, his BABY crying and still strapped to him. OSBORNE (CONT - V.O.) ...in the courage ... CUT TO:

10:00:26 BUCKLEY sits in silence in the back of the police car. OSBORNE (CONT – V.O.) ... and professionalism of my ... CUT TO:


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10:00:27 OSBORNE stands outside the courts, speaking to the

PRESS. OSBORNE (CONT) ... counterterrorism officers.

10:00:29 CREDITS OVER BLACK:

ADRIAN DUNBAR CRAIG PARKINSON CUT TO:

10:00:31 ARNOTT speaks with OSBORNE. ARNOTT Admit our mistake, apologise and get on with the job of finding the actual terrorists. OSBORNE Pointing the finger at your own?

10:00:37 CREDITS OVER BLACK: KATE ASHFIELD PAUL HIGGINS GATES (V.O.) Greek Lane’s... CUT TO:

10:00:39 GATES addresses his team and HILTON. GATES (CONT) ...been under investigation as the scene of a double homicide. CUT TO:

10:00:42 Bags of evidence in the evidence room. GATES (CONT – V.O.) The evidence points very strongly to these men being involved ... CUT TO:

10:00:45 GATES looks thoughtful. GATES (CONT – V.O.) ... in a terrorist operation. CUT TO:

10:00:46 COTTAN being interviewed by HASTINGS and ARNOTT. COTTAN It was Tony, he was the one that gave the order.

10:00:50 CREDITS OVER BLACK: OWEN TEALE BRIAN McCARDIE CUT TO:


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10:00:53 GATES runs up the street.

CHIEF CONSTABLE (V.O.) Officer of the year CUT TO:

10:00:54 JACKIE and GATES kiss. JOOLS (V.O.) Is there... CUT TO:

10:00:56 JOOLS questions GATES. JOOLS (CONT) ...something going on between you? GATES No. CUT TO:

10:00:57 GATES holds up his award at the ceremony. CHIEF CONSTABLE (V.O.) ... Chief Inspector Anthony Gates. A flash as his photograph is taken.

10:01:00 CREDITS OVER BLACK: AND NEIL MORRISSEY CUT TO:

10:01:03 FLEMING looks over at MORTON, two mobiles in her hand. MORTON Two identical phones, don’t bother saying there’s an innocent explanation.

10:01:06 CREDITS OVER BLACK: WRITTEN AND PRODUCED BY JED MERCURIO CUT TO:

10:01:09 FLEMING throws a fire extinguisher through the door to GATES’ office, everyone looks on in shock. CUT TO:

10:01:11 FLEMING tries to get into GATES’ computer. FLEMING I’m AC-12, call IT now and get them to unlock this bloody computer!

10:01:14 CREDITS OVER BLACK:


5

DIRECTED BY DOUGLAS MACKINNON

MUSIC OUT 5M1 10:01:18 INT. DERELICT FIRE STATION. DAY MUSIC IN 5M2B 10:01:18

RYAN ... now!!! ARNOTT screams as RYAN squeezes the bolt cutters.

RYAN (CONT) Talk!

ARNOTT screams louder as the MASKED MEN hold him still.

RYAN (CONT) What's wrong with these things? RYAN struggles with the bolt cutters, they seem to be stuck.

MIROSLAV What d'you know about our business?

10:01:27 INT. POLICE STATION. TO-20. DAY FLEMING watches anxiously as the COMPUTER TECH sits at GATES’ computer. FLEMING Come on I need this information. BUCKNELL and the rest of the squad stand around watching and waiting. A dialogue box pops up on the screen, it reads: Unable to reset user A.Gates The COMPUTER TECH hits OK. Everyone waits on baited breath.

10:01:43 INT. DERELICT FIRE STATION. DAY ARNOTT struggles. MIROSLAV Who've you told?

ARNOTT I don't know anything.

MIROSLAV Liar. Idiot. He turns to RYAN still trying to work the bolt cutters. MIROSLAV (CONT) Come on. RYAN walks over to ARNOTT.


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RYAN Get that finger in there. ARNOTT’s finger is held out, RYAN tries the bolt cutters, ARNOTT screams, but the bolt cutters have jammed again. RYAN (CONT) Oh these don’t work! MIROSLAV pushes RYAN out of the way and takes the bolt cutters off him. RYAN (CONT) I ain’t a bloody kid!

MIROSLAV sets himself with the bolt cutters.

MIROSLAV Then we do him like Tommy says.

ARNOTT struggles madly to free his arm from the vice. He cries out in agony.

The MASKED MEN leap on the arm to secure it. He continues to struggle.

Suddenly the sound of police cars cut through from outside.

RYAN and the goons scramble for the exit, leaving ARNOTT crying with pain, his hand still held in place by the vice.

10:02:15 EXT. DERELICT FIRE STATION. DAY

An unmarked Police Car pulls up just as RYAN and the goons scramble out into the courtyard.

A car slams into them, knocking them all to the ground.

GATES leaps out of the car, the tyre iron in his hand and he manages to grab hold of RYAN before he escapes.

GATES Hey, where you going? Come here.

He tries to drag RYAN back inside, but RYAN struggles.

RYAN You bent bastard.

GATES slams the tyre lever into RYAN's leg. RYAN cries out and falls to the ground, rolling over clutching his leg and screaming.

RYAN (CONT) Ah, oh you bust me leg!


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GATES handcuffs him to a fixture.

GATES Get down and shut up!

GATES goes inside.

MUSIC OUT 5M2B 10:02:49 INT. DERELICT FIRE STATION. DAY

ARNOTT struggles and finally manages to free his arm from the vice, he slumps to the ground, battered and defenceless.

MUSIC IN 5M3B 10:03:03 GATES enters and sees him. He walks over to ARNOTT, the tyre iron still in his hand.

ARNOTT looks at him and shakes his head in fear.

ARNOTT No ... Please ... Please... He starts to cry.

GATES gazes at ARNOTT glassily. Then he looks around, turns and exits.

ARNOTT watches GATES disappear out of the door and out of sight.

10:03:47 EXT. OPEN ROAD. DAY

GATES car drives along.

10:03:49 INT. GATES' CAR. DAY

GATES drives, deep in thought.

He allows himself a small smile.

10:03:58 EXT. GATES’ CAR. DAY

The car continues on its journey.

10:04:02 EXT. DERELICT FIRE STATION. DAY

FLEMING pulls up in her car. There's a police vehicle and an ambulance already in the courtyard.

She moves quickly to find ARNOTT.

FLEMING MUSIC OUT 5M3B 10:04:15 Steve?

ARNOTT I'm fine.

FLEMING You sure?

ARNOTT


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Yeah, look you should go.

FLEMING It’s ok, my cover's blown.

ARNOTT What?

FLEMING It doesn't matter, I lost Gates.

ARNOTT There’s no sign of him here.

FLEMING Look I'll follow you to the hospital, alright?

ARNOTT climbs into the back of the ambulance.

FLEMING joins BANNERJEE and LARKIN where, RYAN kicks out at them, struggling against his handcuffs.

RYAN You bastard!

BANNERJEE Please calm down Ryan, you're only going to hurt yourself. RYAN Bastard.

LARKIN Where's the water cannon when you need it?

FLEMING Who nicked him?

BANNERJEE DS Arnott said he did.

FLEMING looks doubtful, she looks at RYAN.

FLEMING Who arrested you Ryan?

RYAN gets struggling.

LARKIN DC Fleming asked you a question, Ryan.

RYAN I ain't saying nothing without a solicitor!

MUSIC IN 5M4B 10:05:15 FLEMING turns back and looks at ARNOTT sitting in the back of the ambulance. Then the doors are shut.

10:05:21 EXT. GATES'S HOUSE. DAY

GATES draws up in his car and climbs out.


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10:05:38 INT. GATES'S HOUSE. DAY

GATES enters. All is quiet.

GATES Jools? Jools are you here? He looks around, there is no reply. GATES (CONT) Jools? Still no reply. He hears a noise and cautiously walks towards it.

He stops when he sees the back glass in the back door has been smashed in.

He looks worried.

GATES (CONT) Jools?

He throws open the door to the garage and sees the dog lying in a pool of blood on the floor.

10:06:32 INT. GATES'S HOUSE. GARAGE. DAY

GATES looks sickened as he kneels down by the dog, it whimpers. GATES strokes it’s head.

GATES (CONT) It’s okay boy.

The dog cries.

GATES (CONT) It's okay.

GATES takes off his jacket and carefully presses it over the dog's head.

GATES (CONT) Ssshh. It’s ok Sam, it’s ok baby. GATES looks distressed as he puts the dog out of it’s misery.

10:07:19 INT. GATES'S HOUSE. KITCHEN. DAY

MUSIC OUT 5M4B 10:07:21 GATES reflects on the situation, anguished.

JOOLS arrives home.

He goes to intercept her.

10:07:29 INT. GATES'S HOUSE. HALLWAY. DAY

JOOLS Tony?


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GATES Are the girls at school?

JOOLS What are you doing here?

GATES The girls, Jools.

JOOLS Yeah of course they are.

GATES Ok I need you to pack a couple of bags, pick them up early and then take them to your mum's.

JOOLS What's going on?

GATES Listen I’ll pack the bags myself if I have to, but we have to get going.

JOOLS Tony talk to me!

GATES They killed Sammy.

She's appalled.

JOOLS Oh, my God.

She moves towards the entrance to the garage. He grabs her.

GATES Yeah. Don't. It's a warning. It's me they're after.

JOOLS Who are these people?

GATES It doesn't matter who they are, I just need to know that you and the girls are safe, that's all I care about right now.

JOOLS No I'm not going anywhere without you.

GATES Jools you'll be safe at your mum's.

JOOLS This is ridiculous. You're the Police! GATES Jools. JOOLS


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I'm calling 999.

She marches to the phone. He grabs her and pulls her back. She tries to shake him loose.

GATES Hey! Listen! I am on my own.

JOOLS No you’re not!

GATES This mess, it’s mine. It’s not yours and it’s not the girls'. I just need you to do what I say.

JOOLS I'm calling Nigel.

She moves for the phone.

GATES Don’t. JOOLS There’s not a bloke at the station that won’t stand by you. She picks up the phone, GATES grabs it. GATES Jools. Stop it!

JOOLS Why're you behaving like this?

GATES This is about Jackie, alright, and the people that she was in business with.

JOOLS What are you saying? That they killed Sammy?

GATES Yeah.

JOOLS Well what’s it got to do with Jackie?

GATES They killed her too.

JOOLS My God. When?

GATES A couple of weeks back.

JOOLS Why didn’t you say anything?

GATES


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Because I thought I’d, I was trying to fix everything.

JOOLS How? What’s going on?

GATES It doesn’t matter – alright, they're criminals. Now, I need you to pack those bags and I need you to pick up my girls.

JOOLS Why're you shutting me out?

GATES Because I need to be able to handle this on my own.

JOOLS I'm not going anywhere without you. He takes a breath, then walks up to her.

GATES I was fucking her. Okay? I was fucking Jackie.

MUSIC IN 5M5 10:09:12 She glares at him. Then turns and goes.

GATES sobs, he sits down totally bereft.

10:09:52 INT. HOSPITAL ROOM. NIGHT

ARNOTT opens his eyes. His right hand is bandaged. FLEMING is at the bedside.

FLEMING Steve.

ARNOTT Y’alright?

MUSIC OUT 5M5 10:10:14 FLEMING You're okay. They operated on your hand. They saved your finger.

HASTINGS (O.S.) Yeah ... yeah ...I’ll call you back... I'll call you back.

HASTINGS is at the end of the bed on his mobile, he hangs up and looks at ARNOTT.

HASTINGS (CONT) Hey Steve.

ARNOTT Any sign of Gates?

FLEMING No. The house is deserted. DI Buckells' team have put a trace on his phone but, it's switched off.


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ARNOTT Right.

HASTINGS We’re gonna take a statement from you when you’re feeling a bit better, yeah.

FLEMING Since Gates went AWOL just before it happened, we're assuming he was involved in some capacity.

HASTINGS Quite a set of charges isn’t it, for the Officer of the Year -- conspiracy, kidnapping, GBH, attempted murder ...

ARNOTT I'm not sure he was involved, sir.

HASTINGS We haven’t got the evidence yet, you mean. But we will get it. Kate, we should debrief.

HASTINGS moves to exit. FLEMING follows.

ARNOTT Kate.

She halts. Awkward beat.

HASTINGS Alright Kate, I'll see you back at the office, yeah? I’m glad you’re feeling better Steve.

ARNOTT Thank you, sir.

Exit HASTINGS.

ARNOTT (CONT) What's that about?

FLEMING Well now my cover's blown, it’s a question of whether I'll stay on the case.

ARNOTT D'you want to carry on?

FLEMING I think you know the answer. The men who were holding you got away, but the kid's in custody. We won't be able to interview him till we've tracked down a responsible adult.

ARNOTT Okay ... I heard you trashed Gates’ office. FLEMING Yeah.


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ARNOTT There was a freezer, in the place they held me. Struck me as odd.

10:12:13 INT. DERELICT FIRE STATION. NIGHT

A tight sling holds ARNOTT's bandaged right hand to his chest. He and FLEMING enter to find BUCKELLS observing a couple of FORENSIC SCENE INVESTIGATORS examining the interior of the freezer.

BUCKELLS Hiya. There are traces of body fluids, seepage from before a body was frozen. I don't think the seepage products will tell us much.

ARNOTT It tells us they moved it in a hurry.

FLEMING Yeah because they didn't clean up.

BUCKELLS I'm surprised you've not been pulled out, DC Fleming. I say Fleming. Who knows?

BUCKELLS makes a hasty exit.

Awkward beat between ARNOTT and FLEMING.

FLEMING The chances are her body's in another freezer somewhere else. It'll be Jackie alright -- they'll preserve the body as evidence against Gates.

ARNOTT He didn't kill her.

FLEMING No?

ARNOTT I'm not sure he's capable.

She studies him. It makes him uneasy.

He throws her a look then exits.

10:13:07 INT. POLICE STATION. CID CORRIDOR/TO-20. DAY

ARNOTT and FLEMING enter. Immediately FLEMING receives dirty looks from all the officers.

ARNOTT I’ll come with you.

FLEMING No. I’m alright.

FLEMING heads to her desk alone. ARNOTT loiters, somewhat rejected.


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COTTAN looks up from his desk.

COTTAN Kate.

FLEMING Dot.

She walks over to her desk.

FLEMING I’ve just come to get my stuff.

MORTON No hard feelings.

She glances over at him then carries on packing up. Everyone in the bullpen stares at her.

MORTON walks behind FLEMING and spits in her hair.

COTTAN says nothing, neither do the rest of the team. FLEMING bites her tongue as ARNOTT watches from the doorway.

MORTON turns and walks off.

As he leaves, ARNOTT squares up to him.

MORTON Her cover isn't the only thing she blew, you know.

MUSIC IN 5M6 10:13:59 Ask Tony.

ARNOTT is so surprised by MORTON's remark, he's momentarily paralysed. MORTON walks off.

In background, ARNOTT watches FLEMING, affected by the thought. COTTAN passes FLEMING a tissue.

COTTAN Here. FLEMING Thanks.

FLEMING cleans the spit from her hair and bins the tissue.

COTTAN Which Force you really from?

She doesn't answer. She starts removing personal items from her desk into her bag.

COTTAN (CONT) Who was your target then, ey? Just Gates?

FLEMING I can't discuss my brief.


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She keeps gathering stuff.

COTTAN You must be pretty pissed off though ey, not getting the evidence you needed.

FLEMING I got plenty.

COTTAN Yeah? I don't see Tony Gates in custody. Do you?

She picks up her things and walks off.

COTTAN watches her go. He looks worried.

FLEMING reaches ARNOTT.

FLEMING The last time I saw Gates, he was talking with Morton. If anyone's still loyal, it's him.

ARNOTT looks at her.

FLEMING (CONT) What?

ARNOTT Leave Morton to me.

ARNOTT exits, FLEMING looks worried and follows him out.

10:15:09 EXT. POLICE STATION. CAR PARK. DAY

MUSIC OUT 5M6 10:15:10 ARNOTT catches up with MORTON as he limps to his car.

MORTON Here we go again.

ARNOTT Has Gates called you yet?

MORTON He knows there'll be a trace on his phone.

ARNOTT He'll find a way. When he calls, give him a message. There's a subway between Borogrove Estate and Moss Heath Park. You tell him I'll be there, alone, at midnight.

MORTON You must think I'm thick as pig shit.

ARNOTT You don't know the situation between me and Gates, but he does.


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MORTON What if I say, Screw you?

ARNOTT The only person you'd be screwing is your best mate.

Exit ARNOTT. MORTON reflects, torn, shuts the car door.

10:15:46 INT. POLICE STATION. BACK STAIRS/CID CORRIDOR. DAY

ARNOTT trudges back in.

HILTON (O.S.) Virtually all ...

HILTON and an entourage of SENIOR OFFICERS approach from the front entrance of the station.

HILTON (CONT) ... my detectives have been seconded to the operation.

Through the phalanx of heads, ARNOTT sees CHIEF INSPECTOR OSBORNE.

OSBORNE You've responded decisively, sir.

MUSIC IN 5M7 10:15:56 Shocked, ARNOTT locks eyes with OSBORNE. Tense beat.

HILTON You two know each other?

ARNOTT What you doing here?

HILTON Chief Inspector Osborne is contributing his expertise to our Counter Terrorism operation.

ARNOTT You believe this?

OSBORNE The Greek Lane cell appeared exactly the same time as ours dropped off the radar. We can't exclude a direct connection.

ARNOTT looks aghast.

HILTON If you'll excuse us, DS Arnott.

OSBORNE and HILTON move on quickly, leading the entourage, all of whom eye ARNOTT with disapproval.

HILTON (CONT) I’m sorry about that, Philip.


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COTTAN stands to attention waiting for HILTON to introduce him to OSBORNE.

HILTON (CONT) Ah, DS Cottan, our Acting Deputy SIO. CI Osborne. They shake hands.

OSBORNE Cottan.

COTTAN Very pleased to meet you, sir.

ARNOTT exits out the back way in dismay.

10:16:36 EXT/INT. POLICE STATION. PUBLIC ENTRANCE. DAY

JANE HARGREAVES, presents herself to an OFFICER just as FLEMING passes on her way out onto the street.

OFFICER (O.S.) Morning.

MUSIC OUT 5M7 10:16:38 JANE Hiya, I am Ryan Pilkington's social worker. OFFICER (O.S.) Just a minute.

FLEMING does a subtle about-turn.

MUSIC IN 5M8 10:16:41 FLEMING Hi. Sorry. DC Fleming. Would you come with me, please? FLEMING looks over at the OFFICER as she walk off with JANE. FLEMING (CONT) Thanks.

10:16:53 INT. POLICE STATION. INTERVIEW ROOM 1. DAY

RYAN enters with a whole retinue of case workers -- all crammed round his side of the table.

FLEMING sits opposite him. She puts the tape in the machine and begins.

FLEMING Interview under caution with Ryan Pilkington by Detective Constable Fleming in the presence of Ryan's solicitor --

BURTON Louise Burton.

FLEMING -- social worker --


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JANE Jane Hargreaves.

FLEMING -- Community Liaison Officer, Community Juvenile Liaison Officer and Community Policing Case File Officer PC Bannerjee. I know things aren't great for

MUSIC OUT 5M8 10:18:04 you at home, Ryan. We've had to give up on your mum. She won't come in. She'd rather leave all this to your case workers. How d'you feel about that?

He shrugs.

FLEMING (CONT) My parents split up when I was a kid. You'll do anything to be out of the house. You don't care what it gets you into.

No reply.

FLEMING (CONT) You're right. Our lives doesn't compare. But I do want to help you, Ryan. You're on a bad road and you need to get off it.

10:18:30 INT. OUTSIDE INTERVIEW ROOM. DAY

ARNOTT arrives at the one-way glass. He observes the interview.

FLEMING (CONT – O.S.) Tell me what you know about the men who were holding DS Arnott. We know the same men were involved in a series of incidents.

10:18:40 INT. INTERVIEW ROOM. DAY

RYAN isn't forthcoming. FLEMING keeps going.

FLEMING (CONT) Two men were killed in Greek Lane. A drug dealer named Wesley Duke was hung up from a lamp post. And a woman named Jackie Laverty was snatched from her own home. Four murders, Ryan. I need to know you had nothing to do with them.

RYAN I didn't.

FLEMING And I believe you Ryan. But you know about them, don't you?

BURTON My client denies any knowledge of these offences.

FLEMING The person who ordered those murders is someone you work for though, isn't that right?

RYAN


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I dunno.

FLEMING Don't lie to me, Ryan. I can't help you if you do.

10:19:10 INT. OUTSIDE INTERVIEW ROOM. DAY ARNOTT listens in, he looks distressed. FLEMING (CONT – O.S.) You were involved in holding and torturing DS Arnott.

10:19:14 INT. INTERVIEW ROOM. DAY FLEMING (CONT) You spoke to a man on the phone who was giving you the orders. Who's that man?

RYAN I dunno.

FLEMING Well does he have a name?

BURTON Ryan's answered the question, DC Fleming.

FLEMING Ryan?

RYAN I don't know his name.

FLEMING Does he use the name "Tommy"?

RYAN Dunno.

FLEMING That’s the name DS Arnott heard. Let's call him Tommy.

RYAN Whatever.

FLEMING What do you do for Tommy, Ryan?

RYAN Don't do nothin'.

FLEMING measures a pause. She shows a transparent evidence bag containing a mobile phone.

FLEMING For the tape, I'm showing Ryan a mobile phone, evidence number G67389. Is that your phone?

RYAN


21

No.

FLEMING Well it was recovered from the location where you were holding DS Arnott.

RYAN keeps quiet.

FLEMING (CONT) You're a tough kid, Ryan. Or at least you think you are. Where did you get those injuries? She looks at the bruising on his face.

RYAN shrugs.

FLEMING (CONT) If you carry on like this, the place you're going has sixteen-year-olds, seventeen-year-olds. And they’re built like brick sheds. How d'you think you'll fare against one of those lads?

RYAN shrugs.

FLEMING (CONT) They knock your teeth out, Ryan. They do that so you give a better blow-job.

JANE I don't think that's very helpful, DC Fleming.

She holds up the evidence bag again.

RYAN It ain't my phone.

FLEMING But you recognise it, don't you?

BURTON whispers in RYAN's ear.

RYAN No comment.

FLEMING What d'you do for Tommy, Ryan?

BURTON whispers again.

RYAN No comment.

FLEMING Four murders, Ryan. This is serious. I know you're innocent. You were just helping out with the phones, weren't you?

BURTON whispers again.

RYAN Just did the phones.


22

FLEMING Did what exactly?

RYAN Nick phones for him. For the lot of 'em. They’d use 'em for a couple of days. Then I’d get rid of 'em.

FLEMING Right so you needed unregistered phones, like this one.

RYAN That's it. The phones.

BURTON My client has been very helpful. Can we leave it there please?

FLEMING Have you ever met Tommy?

RYAN No. He does it all on the phones.

FLEMING Did he ever ask you to do anything in relation to the woman that I mentioned earlier, Jackie Laverty?

RYAN Like what?

FLEMING Well we're still looking for her body, Ryan. Where is it?

RYAN I dunno.

FLEMING Are you sure, Ryan?

RYAN Yeah.

FLEMING We can protect you from Tommy.

RYAN Yeah, right.

FLEMING Where's the body, Ryan?

JANE DC Fleming -- please.

BURTON That's enough.

FLEMING pulls herself together.


23

FLEMING There's a police officer, Ryan. Detective Chief Inspector Gates. Do you know who I mean?

RYAN says nothing.

FLEMING (CONT) MUSIC IN 5M9 10:21:44 Well let's assume you do. Did Tommy ever give you

instructions regarding DCI Gates? RYAN says nothing. FLEMING (CONT) Ryan?

RYAN I'd give him a phone. Tommy does all the talking.


ARNOTT continues to listen in.

BURTON (O.S.) My client's already admitted to transporting ...

FLEMING (CONT) What did he say to Gates?


FLEMING (CONT) What did Gates say to him? RYAN I can’t remember.

FLEMING Think carefully, please Ryan. Did Tommy and DCI Gates ever ...

10:22:03 INT. OUTSIDE INTERVIEW ROOM. DAY FLEMING (CONT – V.O.) ... discuss kidnapping DS Arnott?

RYAN I dunno.

BURTON (O.S.) Ryan's answered your questions, DC Fleming.


JANE He’s tired. Are you tired, Ryan? RYAN rubs his face. FLEMING Ryan? Please. Think carefully. Did DCI Gates help kidnap DS Arnott?


24

RYAN No he was the one who rescued him.

FLEMING looks shocked.


On observing FLEMING's shock, ARNOTT moves quickly and bursts into the interview room.


By the time he gets there, FLEMING has recomposed her professional demeanour.

FLEMING Well thank you Ryan. We’ll leave it there for now. I hope you're being looked after. And if there’s anything you need, just let me know. She gets up and walks out past ARNOTT. FLEMING (CONT) DS Arnott.

ARNOTT follows her out.


Just as the door opens, BUCKELLS appears, breathless.

BUCKELLS What the hell's going on here, Fleming?

FLEMING We got a responsible adult but you were busy.

BUCKELLS You're off TO-20. You were never bloody on it.

FLEMING Right you are, sir.

FLEMING exits. ARNOTT pursues her. BUCKELLS goes into the interview room.

BUCKELLS Ryan, sorry, I'm Detective Inspector Buckells.

RYAN Can I have a Big Mac now?

10:23:08 INT. INTERVIEW ROOM CORRIDOR. DAY

ARNOTT catches up with FLEMING.

ARNOTT Kate. Wait.


25

FLEMING I knew something was going on. When were you going to tell me?

ARNOTT I'm sorry.

FLEMING What? And now you "owe" him? Gates' played us. All of us. And he’s at it again.

ARNOTT He saved my life!

FLEMING He put you in danger in the first place!

ARNOTT He was backed into a corner.

FLEMING Yeah that we put him in, to crack the case!

ARNOTT You're the one closer to Gates and you don't even understand him.

She gasps in dismay.

FLEMING You know what you're screwing up an operation I've spent months on, Steve, undercover, worrying about my every move, bricking it in case I get caught, sleepless nights? Cheers, mate. Thanks a fucking million.

Exit FLEMING. ARNOTT reflects bitterly.

10:23:51 EXT. KINGSGATE. CITY STREET. DAY

An anonymous figure in a hood slips through a crowded pavement into a phone box – it’s GATES.

He punches the numbers scrawled in a notebook:

"NIGE 07700900163"

The number rings. He waits on tenterhooks for it to be answered.

10:24:12 INT. AC-12. OPEN PLAN OFFICE. NIGHT

Alone in the big office, ARNOTT watches the clock tensely.

The CLEANING WOMAN is at work.

ARNOTT gets up and walks out.

10:24:32 EXT. THE BOG. SUBWAY. NIGHT


26

ARNOTT loiters in the gloom. He's very nervous.

A car appears and parks up.

He sees two feet step out, then a walking stick. MORTON steps towards ARNOTT.

MORTON Who else knows you're here?

ARNOTT No one. Now where’s Gates...

MUSIC OUT 5M9 10:25:12 MORTON grabs ARNOTT across his wounded hand and squeezes. ARNOTT screeches in pain and drops to the ground, almost faint with agony.

MORTON Pillock!

MORTON limps back the way he came.

On the ground, ARNOTT looks very ill. He watches MORTON climb back into his car and drive off.

ARNOTT struggles to his feet and walks back to his own car.

MUSIC IN 5M10 10:25:52 He opens the door and is about to climb in when GATES jumps out from behind and grabs him.

GATES throws open the rear door, shoves ARNOTT in, shuts the door and jumps in the driver's seat and drives off.

10:26:04 INT. ARNOTT'S CAR. NIGHT

ARNOTT is on the back seat.

ARNOTT Gates? What the hell's going on?

GATES I need to flush out any back-up, make them come running.

ARNOTT There's no back-up – it’s just me.

GATES Yeah? So you’re looking after your own, that's not in the Anticorruption code, mate.

ARNOTT Well it’s mine.

10:26:18 EXT. ARNOTT’S CAR. NIGHT

GATES throws a hard left.


27

10:26:20 INT. ARNOTT’S CAR. NIGHT

ARNOTT cries out in pain.

GATES I was never on the take. And I was never in with criminals. That was all Jackie.

ARNOTT You pulled the surveillance off Greek Lane so they could do the murder.

GATES I never gave that order. Anyone tells you different is lying.

ARNOTT All the dirty money Jackie was funnelling, you never suspected a thing?

GATES Listen I was an idiot. And I never twigged who she was in with. But it was them who did the murder not me and it’s them I'm hiding from, not you.

10:26:42 EXT. ARNOTT’S CAR. NIGHT

GATES throws another hard turn.

10:26:44 INT. ARNOTT’S CAR. NIGHT

ARNOTT Turn yourself in. Give evidence against them. We can protect you.

GATES That's a bunch of crap and you know it. I'm a dead man walking. And so are you son. We need to get them before they get us. For Jackie's murder, for the Greek Lane mob and for Wesley Duke. Because they're the real criminals, Arnott. Not me.

ARNOTT What the hell am I supposed to do?

GATES Just back off. You back off and you keep everybody else off of me until the job's done.

ARNOTT How'd I know this isn't just another one of your games?

GATES This is my only chance of holding on to any of the things I give a toss about. I’ll give you Tommy and then you let me go. You got it? Arnott? Have you got it?

ARNOTT Yes!


28

10:27:19 EXT. THE BOG. SUBWAY. NIGHT

Approaching the spot he picked up ARNOTT, GATES brakes hard.

10:27:23 INT/EXT. ARNOTT’S CAR. NIGHT

MUSIC OUT 5M10 10:27:24 ARNOTT flies off the seat into the well behind the front seats.

By the time he manages to get up, the driver's door is wide open and GATES has vanished into the night.

ARNOTT is in pain and in a quandary.

10:27:46 EXT. POLICE STATION. CAR PARK. DAY

HILTON's just parked his car. He sees COTTAN locking up his.

HILTON Er, Matthew.

COTTAN Sir.

HILTON CI Osborne's joined us on semi-permanent secondment. I'd be grateful if you could be his point of contact.

COTTAN I’d be very happy to, sir.

HILTON points COTTAN towards the station and they stroll.

HILTON I've been impressed, Matthew, and I wonder how you'd feel about sitting the inspectors exam?

COTTAN I don't know what to say, sir.

HILTON No one wants to step into dead man's shoes, but Tony Gates is finished. I meant to ask, what brought you into the Service, Matthew?

COTTAN Well where I grew up Sir, there wasn't much respect for law and order. You know, I could've fallen in with a bad crowd. Instead I made a few quid caddying at the local golf club. I met a bloke there sir, who opened my eyes.

HILTON Well think of this as an opportunity to help young people like that.

COTTAN


29

I want it, Sir.

HILTON Good man. Excellent.

They go in.

10:28:41 EXT. RYAN'S HOUSE. DAY

A police car pulls up outside.

LARKIN steps out, opens the back door for BANNERJEE and RYAN who they escort back towards the house.

LARKIN sees a YOUNG MAN in his underpants running off holding onto the rest of his clothes.

LARKIN Must've seen the vehicle. Remind me to check outstanding warrants back at the station.

BANNERJEE Is that your mum's boyfriend, Ryan?

RYAN doesn’t answer.

LARKIN knocks at the front door.

KEELY answers the door -- half dressed, hung over.

KEELY You better of fed him.

RYAN goes in and KEELY shuts the door curtly.

LARKIN turns back to the car, doesn't bat an eye.

LARKIN Right, let's get round to the chippy.

BANNERJEE Just give me a minute, Kaz.

MUSIC IN 5M11 10:29:41 BANNERJEE goes back and bangs on the door.

RYAN answers it.

RYAN What now?

BANNERJEE Ryan, I er, I want you to know you can call me.

BANNERJEE offers a card.

RYAN I ain't no grass.

BANNERJEE


30

Yeah I know, it’s just if there's stuff you want to talk about. Or you want someone to buy you a burger. That's all mate.

RYAN Okay.

BANNERJEE Promise?

RYAN nods, childlike again. He closes the door.

BANNERJEE turns back to the car.

BANNERJEE (CONT) Right, I’ll have a cod and chips. See you there.

LARKIN Simon, what -- ?

BANNERJEE I know -- this is the Bog -- we never leave the vehicle.

BANNERJEE straightens up and strolls along the street. He acknowledges passers-by, saying hello, being part of the community and looking proud of being a POLICE OFFICER.

10:30:38 INT. AC-12. OPEN-PLAN OFFICE/HASTINGS' OFFICE. DAY

FLEMING is out in the open-plan area in discussion with another AC officer.

HASTINGS MUSIC OUT 5M11 10:30:40 Steve, fancy a cup of tea?

ARNOTT walks over to him. HASTINGS (CONT) Ha, shall I be mother? ARNOTT Thank you sir.

HASTINGS pours cups of tea from a pot, apparently all sweetness and light.

HASTINGS You know the date came through for your inquest. It's next week.

ARNOTT Right.

HASTINGS Yeah, suppose you could always argue that you're not fit to testify? Yeah? Kate?

ARNOTT doesn't answer, mulls it over. HASTINGS waves FLEMING in and she approaches.


31

HASTINGS (CONT) The news came through yesterday but I decided to let it wait. There’s no point ruining a good night’s sleep. Did you sleep all right last night?

ARNOTT Good, thank you, sir.

HASTINGS Yeah I know, I know, I mean with the arm and all that.

ARNOTT Just a quiet night in, sir.

HASTINGS Quiet night? You cheeky wee shite, ya! Kate, you have a word with him. My doctor told me to watch my blood pressure.

He storms out.

FLEMING The boss put an officer on your flat. For your protection. He saw you stumble in well after midnight.

ARNOTT I had a meeting with Gates.

FLEMING Jesus Christ, Steve. You’re meant to be my partner.

ARNOTT Well you were never Gates's partner, then?

FLEMING What the hell are you talking about?

ARNOTT If this is personal ...

FLEMING "Personal"?

ARNOTT If something happened between you two ...

FLEMING Like what?

ARNOTT Nothing. Forget it.

FLEMING What d'you want to know?

ARNOTT I shouldn't have asked. It's private.

FLEMING


32

Yeah. It is.

Enter HASTINGS in a burst of energy, throwing a knot of electronic equipment on his desk.

HASTINGS Here. Now that you and Gates are bosom buddies, you’ll know what to do with that

ARNOTT A wire tap?

HASTINGS Yes, Steven, a wire tap.

ARNOTT looks far from keen.

HASTINGS (CONT) What is it with you? You think you owe Gates? Why don’t you ask yourself who you really owe.

MUSIC IN 5M12 10:32:10 He walks off, FLEMING looks at ARNOTT then walks back to her desk.

ARNOTT stares at the wire tap.

10:32:15 EXT/INT. POLICE STATION. FRONT ENTRANCE. DAY

From the busy street, ARNOTT heads into the station. His movements are uneasy. His looks are edgy.

10:32:29 INT. POLICE STATION. CID CORRIDOR. DAY

ARNOTT heads towards the door and uses his fob to get in.

10:32:41 INT. POLICE STATION. TO-20. DAY

ARNOTT heads in, he stops and glances over at the briefing room where OSBORNE, MORTON, COTTON and JANSON are deep in discussion. They glance back at him and he turns and continues towards BUCKELL’s office.

10:32:52 INT/EXT. POLICE STATION. BUCKELLS' OFFICE. DAY

BUCKELLS is on the phone when ARNOTT knocks.

BUCKELLS Yeah, yeah I would, yeah ...

BUCKELLS looks up and waves him in and returns to his phone call.

BUCKELLS (CONT) MUSIC OUT 5M12 10:33:00 Just a second, sorry.

He looks up at ARNOTT.

ARNOTT


33

You got a minute, sir? We're eager for an update.

BUCKELLS The body fluids recovered from the freezer match the blood from Jackie Laverty's house. I’ve re-interviewed the ASBO Dodger but he's never gonna grass where they moved the body. Now we're looking at the phone data.

ARNOTT When d'you make the tissue match?

BUCKELLS Oh were you not on the distribution list? I do apologise.

BUCKELLS returns to his call tartly.

BUCKELLS (CONT) Sorry, Alex, carry on ... ARNOTT Sir.

ARNOTT turns and exits sharply.

10:33:26 INT. POLICE STATION. CID OFFICE/TO-20. DAAY

ARNOTT exits the office and glances back at the briefing room where the investigation is continuing. MORTON and OSBORNE are looking at the incident board.

OSBORNE (O.S.) So do we know how long the cell has been operating under cover as drug dealers?

COTTAN Yeah well we interviewed a known dealer, Wesley Duke, before he died. He reckoned, a month, sir.

JANSON Jermaine Duke, brother of the deceased, says Wesley remarked on the reliability he got from the Greek Lane suppliers. They were organised. Not smackheads. Professionals.

MORTON Fits with them having a supply line running directly from Northern Pakistan.

They shut up when they see ARNOTT.

ARNOTT Oh don't mind me. A supply line running directly from Northern Pakistan? Makes a change from nicking chavs on Moss Heath. You must be creaming yourselves.

OSBORNE This is a private meeting, Arnott.


34

ARNOTT Fine. I'll wait.

ARNOTT steps out and sets himself up in TO-20, staring them out.

OSBORNE turns to the others.

OSBORNE Excuse me. He marches out and past ARNOTT. OSBORNE (CONT) Come on. ARNOTT gets up and follows him. COTTAN watches him suspiciously.

10:34:19 INT. INTERVIEW ROOM 2. DAY

ARNOTT and OSBORNE enter.

OSBORNE Right, you've got thirty seconds.

ARNOTT I'd like to explore the possibility the Greek Lane residents weren't terrorists.

OSBORNE Naturally I'm open to all possibilities.

ARNOTT I've been conducting an in-depth operation against DCI Tony Gates. And at no point in Gates's investigation did he ever develop a lead into a terror connection.

OSBORNE Not until he obtained evidence of the bomb-making activity.

ARNOTT Sir, it was household bleach and a chemistry book. Those lads were making crack, not IEDs. And Gates knows that. He only dressed it up as a CT op when he realised we were about to crucify him.

Tense beats.

OSBORNE MUSIC IN 5M14 10:35:00 Well is that it? Thanks, Arnott. Time's up.

OSBORNE moves to the door.

ARNOTT Don't act like this hasn't happened before. Our operation was botched. And you're trying to cover it up.


35

OSBORNE The only person not telling the truth is you. You're out on a limb, Arnott. Not a great place to be when the inquest opens next week -- no wonder you're desperate.

ARNOTT You asked me to lie, sir, to go along with it. At least have the common decency to admit that.

OSBORNE I did no such thing.

OSBORNE opens the door. ARNOTT marches to it and shuts it.

ARNOTT I got shafted because of you. Because I won't cover up our blokes busting into the wrong flat, shooting an innocent person.

OSBORNE glares calmly at ARNOTT. He pulls open the door.

OSBORNE See you at the inquest.

Exit OSBORNE.

ARNOTT looks devastated.

He pulls off the wire.

10:35:44 INT. AC-12. HASTINGS' OFFICE. DAY

ARNOTT enters and plonks the wire on HASTINGS' desk.

ARNOTT This isn't going to work. I can’t use this on Gates.

HASTINGS MUSIC OUT 5M14 10:35:56 Steve. You're off the case.

ARNOTT Just wait! There's a bigger crime here. Gates believes he can bring in a high-value offender within organised crime.

HASTINGS What? He told you that?

ARNOTT He's desperate. He believes it's his only chance to save his career, his reputation, his family. Look DI Buckells' team's been checking phone records, right? I can feed the right information to Gates. He has a relationship with these people. They'll want to meet, if only to kill him. Gates can pick up an unregistered phone so he can make contact without being traced by Buckells. Now I know --


36

HASTINGS Whoah, whoah, whoah. Hang on a second Steve. What are you saying here? You're going to cut this guy loose? Look after everything that’s gone down, the only way I'm going to sanction an operation like this, son, is if you can promise me that you’re going to deliver Gates. Right, into the palm of my hand.

ARNOTT reflects on this.

10:36:41 INT. AC-12. OPEN PLAN OFFICE. DAY

ARNOTT lays a print-out in front of FLEMING.

ARNOTT This is the call history from Ryan's phone. It goes back only a couple of days, from when the handset was stolen. Now there's a pattern of incoming calls, always from different numbers. Having lost Ryan, there's a big chance right now Tommy doesn't know which of his numbers is secure.

FLEMING looks at the list.

ARNOTT (CONT) All the numbers are currently inactive. Hastings is on standby to move as soon as one joins the network.

MUSIC IN 5M15 10:37:10 So are we.

10:37:11 EXT. KINGSGATE. HIGH STREET. DAY

GATES walks up the road towards a phone shop.

10:37:21 INT. KINGSGATE. PHONE SHOP. DAY

GATES picks up a phone from the display and hands over the cash to the SHOP ASSISTANT and opens the packaging.

10:37:28 EXT. KINGSGATE. NEWS STAND. DAY

GATES exits the shop and melts into the crowd, slipping the phone in his pocket.

10:37:38 EXT/INT. JOOLS' MOTHER'S HOUSE. DAY

GATES waits nervously at the front door.

JOOLS comes to the door and opens it a crack.

JOOLS MUSIC OUT 5M15 10:37:46 You're not coming in.

GATES I can't be seen out here on the doorstep.

JOOLS Then go.

She moves to shut the door. GATES stops her.


37

GATES Hey, please, Jools. I'm doing everything to make us good again. I promise you, I’m doing everything. But work are calling me back in. Are my girls in there?

JOOLS I don't want you upsetting them.

GATES Just an hour. Just so it’s like we’re a family again. Just an hour please?

She shakes her head.

GATES (CONT) Please?

MUSIC IN 5M16 10:38:13 EXT. JOOLS' MOTHER'S HOUSE. BACK GARDEN DAY

GATES plays ‘what’s the time Mr Wolf’ with his girls.

GATES/CHLOE What’s the time Mr Wolf? NATALIE Three o’clock. GATES/CHLOE What’s the time Mr Wolf? NATALIE Ten o’clock.

JOOLS sits on the steps watching him as her MOTHER brings her a hot drink.

GATES What’s the time Mr Wolf? NATALIE Dinner time. She chases him.


FLEMING answers a ringing phone.

FLEMING DC Fleming ... She calls over to HASTINGS. FLEMING (CONT) One of the numbers from Ryan's phone just got activated. They're triangulating now.

HASTINGS takes the phone from her.

HASTINGS Yeah, good, off you go, both of you, go on.


38

FLEMING and ARNOTT hurry out.

HASTINGS (CONT) Yes standing by. Positions everybody, come on.

Everyone jumps up.

10:38:47 EXT. JOOLS' MOTHER'S HOUSE. BACK GARDEN. DAY

GATES carries on playing with his daughters. They are all laughing and having fun.

GATES Go on. NATALIE / CHLOE What’s the time Mister Wolf?

His new phone rings.

A look of agony comes across his face. Then he takes the call.

GATES Yeah?

10:39:11 INT. AC-12. LIFT. DAY

ARNOTT and FLEMING; ARNOTT's on the phone.

ARNOTT It's on.

The lift door shuts.


GATES hears and reacts daunted.

10:39:16 INT. AC-12. LIFT. DAY

ARNOTT Gates?


GATES Received.

GATES hangs up. He turns and walks over to his daughters.

GATES (CONT) Guys?

They run over and hug him, JOOLS watches then turns and walks back inside.

GATES (CONT) I’m going to have to go.


39

NATALIE/CHLOE (O.S.) Why? GATES I have got to go back to work.

They all head back into the house.


Tears roll down GATES' cheeks as he drives. He fights to pull himself together.

MUSIC OUT 5M16 10:39:53 INT. UNDERPASS. DAY MUSIC IN 5M17B 10:39:53

FLEMING’s car moves through at speed.

10:39:57 INT. FLEMING'S CAR. DAY

FLEMING drives. ARNOTT has set up one phone on speaker to HASTINGS.

ARNOTT Have they got the triangulation yet?

10:39:59 INT. AC-12. DAY

HASTINGS has set up a command post. HASTINGS is on the phone.

HASTINGS They've got a signal in the Kingsgate, heading west ...


HASTINGS (CONT – V.O.) ... towards Edge Park. It’s gotta be Tommy.

ARNOTT En route. He talks into his police radio. ARNOTT (CONT) We’ve got a signal in Kingsgate. Heading west towards Edge Park.


GATES takes the message over his radio.

GATES This is Gates. I'm a minute away.


ARNOTT and FLEMING hear.

ARNOTT


40

What are we?

FLEMING Two. Shit.

ARNOTT What?

FLEMING I don't trust him, okay? I don't bloody trust him!

10:40:19 INT. UNDERPASS. DAY FLEMING’s car moves at speed.


HASTINGS studies the screens.

HASTINGS Tommy’s travelling very fast. Now going west on Kingsgate Road.


ARNOTT Kingsgate Road, west.


GATES Received.

10:40:30 EXT/INT. GATES’ CAR. DAY

GATES speeds along.


HASTINGS He's already jumped to the next cell. He's going like the clappers.

10:40:43 INT. UNDERPASS. DAY FLEMING’s car moves at speed.


ARNOTT is alarmed.

ARNOTT God knows how, but he must be on to us.

FLEMING Gates. Bastard.


HASTINGS He's just taken a left, Edge Park Road, southbound.


41


FLEMING Drop him. This is our op.

ARNOTT Drop him and he's gone. So's Tommy.

ARNOTT transmits into his radio.

ARNOTT (CONT) Left turn. Edge Park Road.

10:41:03 INT/EXT. GATES' CAR. DAY

GATES receives ARNOTT's instruction.

GATES Received.

GATES makes a hard left down Edge Park Road.

10:41:11 EXT. UNDERPASS. DAY

FLEMINGS car drives out from the underpass.


HASTINGS The target's just turned west again.


FLEMING He's leading us round the bloody houses.

10:41:23 INT. GATES’ CAR. DAY GATES drives with determination.

10:41:25 EXT. STREET. DAY GATES’ car speeds along the residential street.


ARNOTT and FLEMING look out for the turning.

ARNOTT We're now southbound on Edge Park Road. Target is now heading west. Look for a right turn ahead.

10:41:32 EXT. STREET. DAY GATES’ car speeds along the residential street

GATES hears just too late to make the right turn. He brakes hard, almost crashing into another car and then swings a U-turn to make the turn.



42

HASTINGS is following it all on the tracker system.

HASTINGS He's stationary! About two hundred yards from the turn.


GATES searches for a stationary vehicle.

ARNOTT (V.O.) He’s gone off road.

10:41:51 EXT. GATES' CAR. DAY

GATES’ car moves cautiously. ARNOTT (CONT – V.O.) Two hundred yards from the turn.

GATES turns and drives up the entrance to EDGE PARK GOLF CLUB.


ARNOTT talks into his radio.

ARNOTT (CONT) He's reached wherever he's going.

FLEMING Or he's dumped the phone. ARNOTT looks frustrated.

10:42:04 EXT. EDGE PARK GOLF CLUB. DAY

GATES pulls up in the busy car park.

Stepping out of his car, GATES surveys parked cars and various golf types moving about the car park.

Eventually GATES's gaze settles on a GOLFING MAN on a phone and hurrying to hoist his golf bag out of the boot of his car.

Another GOLFER calls out to him from near the club house.

GOLFER (O.S.) …Tom? The GOLFING MAN turns to the Club House and calls out.

TOMMY Sorry ... GOLFER Can you move your car.


43

GATES watches intently. TOMMY ... can you get me a trolley handle? And a Kit-Kat? Or a Mars Bar or something?

He returns to his phone conversation.

TOMMY (CONT) Yeah ... you cheeky bugger.

TOMMY smiles and switches off the phone and tosses it in the boot of his car, into a box that is filled with an assortment of mobile phones.

He closes the boot of the car.


ARNOTT talks into his radio.

ARNOTT Gates report. Where are you, what's happening?

10:42:44 EXT. EDGE PARK GOLF CLUB. DAY

GATES watches TOMMY with incredulity.

ARNOTT (CONT – V.O.) Gates! GATES turns and drops his radio in the car.

10:42:48 INT. FLEMING'S CAR. DAY ARNOTT (CONT) Gates!

10:42:49 EXT. EDGE PARK GOLF CLUB. DAY GATES pulls up his hood and slowly makes his way in TOMMY’s direction.

He sees a couple of MEN practising.

Then he watches as another GOLFER walks over to a smiling TOMMY.

GOLFER After the hammering you took last week, we thought you'd be a no-show.

TOMMY Ha ha. I'll win my money back.

ANOTHER GOLFER comes out with a trolley handle and a Kit-Kat and hands them to TOMMY.

TOMMY (CONT) Oh right, thank you. Good on you.


44

GATES continues to make his way towards them. He stops and stares in amazement as he watches TOMMY getting set up for his game. One of the GOLFERS notices GATES.

GOLFER What's your problem, mate?

GATES ignores him and continues to stare at TOMMY who looks up and sees him.

There is a look of recognition between the two of them.

Tense beats as TOMMY and GATES both size up the situation.

GATES gives no clue as to his next move.

TOMMY It’s alright, we’re fine. Let’s go out onto the tee.

He calmly starts to move off.

The group move off towards the first tee.

GATES steps towards TOMMY. TOMMY looks at him and raises his eyebrows and mutters.

TOMMY (CONT) What?

With no expression in his face, GATES punches TOMMY hard in the stomach.

TOMMY drops to the ground crying out in pain as GATES holds him in a half nelson.

MUSIC OUT 5M17B 10:43:44 GATES That’s for my kids dog.

The other GOLFERS start to walk towards them, but GATES holds out his ID.

GATES (CONT) MUSIC IN 5M17C 10:43:50 Back off, now! Go!

He pulls TOMMY to his feet and marches him away as he gets out his hand cuffs. GATES (CONT) Let’s go.

10:43:57 EXT. RESIDENTIAL STREET. DAY FLEMING’S car speeds along the road. ARNOTT (O.S.) Right turn coming up.


45

Another car pulls out of the turning.

10:44:02 INT. FLEMING’S CAR. DAY ARNOTT shouts out at it. ARNOTT (CONT) Move! Move!

10:44:03 EXT. RESIDENTIAL STREET. DAY FLEMING manages to swerve out of the way and takes the turning.

10:44:10 EXT. EDGE PARK GOLF CLUB. DAY GATES marches TOMMY over to his car and forces him into the passenger seat.

10:44:21 EXT. NEAR EDGE PARK CLUB. DAY

MUSIC OUT 5M17C 10:44:24 GATES' car speeds up the road.

MUSIC IN 5M18 10:44:24 FLEMING’s car approaches from another road, then she takes the turning and follows GATES.

10:44:28 INT/EXT. FLEMING'S CAR. DAY

ARNOTT keeps watch.

ARNOTT Now visual in pursuit.

ARNOTT opens the glove compartment and starts a recording device.

TOMMY (V.O.) Look, where are you taking me?

10:44:40 INT. GATES'S CAR. DAY

GATES drives grimly. TOMMY looks pretty calm.

TOMMY (CONT) D'you want to know the longest anyone's ever managed to hold me in a police station?


ARNOTT and FLEMING listen.

GATES (V.O.) I'm not arresting you. I didn't kill Jackie Laverty.


TOMMY The only evidence they'll find on her is from you, you and your dirty business, plus the knife with your prints all over it.


46

GATES When I was with her, she was still alive.

TOMMY I wouldn't know. I wasn't there.

GATES No but your boys were, weren’t they. And did they make her suffer? Did they have their fun with her?

TOMMY You've got a dirty mind. My boys are professionals.

GATES Bullshit. Probably under orders not to tamper with the evidence.

TOMMY What orders would those be?

GATES Listen you used her to get to me, didn’t you?

TOMMY It's an interesting story ey?


ARNOTT and FLEMING follow at a very discreet distance as they listen to the conversation.

TOMMY (CONT - V.O.) Unfortunately, I'm not in a position to either confirm or deny.

ARNOTT looks worried.

FLEMING Oh Christ.


GATES continues to drive along the road.

GATES (V.O.) Listen she was my girlfriend and I cared about her.

10:45:53 INT. GATES' CAR. DAY GATES (CONT) I just want to know what you did to her.

TOMMY Spare yourself. Your life's miserable enough already.

GATES Oh you bloody didn’t.

10:46:03 INT. FLEMING’S CAR. DAY


47

FLEMING and ARNOTT listen as they continue to follow GATES. GATES (CONT – V.O.) You did Greek Lane and you did Wesley Duke. My squad is starting to put it together right now.

10:46:08 INT. GATES’ CAR. DAY

GATES (CONT) And every piece of evidence, every piece is starting to point towards you.

TOMMY looks worried.

TOMMY What evidence?

10:46:18 INT. FLEMING’S CAR. DAY

GATES (V.O.) Well there’s me for a start.


TOMMY A copper inside is bad and bad enough. But you'll be a copper that grassed.

GATES That's why I want to stay out. I want that more than anything.

TOMMY What is this evidence you're talking about?

GATES Oh we’re gonna get to that. First I want to make things straight between me and you.

TOMMY looks at him.

TOMMY Well, there has to be something in it for me.

GATES The kid. Ryan. He's young enough to turn.

TOMMY No one's daft enough to grass on me.

GATES Anticorruption can't make a case against me without informants.

TOMMY What with that DS you gave us?


GATES (V.O.)


48

You mean Arnott. I've fixed him. I fixed him my way.

FLEMING and ARNOTT both react to this remark. ARNOTT looks very uncomfortable.


GATES continues.

GATES (CONT – V.O.) I couldn't be a part of killing him, but all the rest is fine. Listen ...

MUSIC IN 5M19 10:47:26 INT. GATES’ CAR. DAY GATES (CONT)

MUSIC OUT 5M18 10:47:27 ... I can still be of use to you.

TOMMY You're dreaming.

GATES Am I? I dressed up Greek Lane as something else. And I’m gonna make Wesley Duke's murder look like a tear-up between some low-level drug dealers. So if Jackie's body's never found, well then there's no case to answer.


GATES (CONT – V.O.) For either of us.

FLEMING He's played us again! I'm calling in back-up. Let's get the pair of them while we can.

She reaches for her phone.

ARNOTT No. Wait.

FLEMING Steve --

ARNOTT Wait.

GATES (V.O.) The only problem is the fingers.


TOMMY considers GATES' bargain.

TOMMY I don't know what you're talking about.

GATES Drop the act. The amputated fingers are the only link between Wesley Duke and Greek Lane.


49

10:48:05 INT. FLEMING’S CAR. DAY GATES (CONT – V.O.) It was clumsy and ignorant. You said your boys are professionals. That means it was your bloody stupid idea.

TOMMY They got carried away. Bloody idiots.

ARNOTT Come on, Gates nail the bastard.

10:48:17 EXT. GATES'S CAR. DAY

GATES car driving along the road.


GATES So I make Wesley Duke's murder look like a copycat.

10:48:24 INT. FLEMING’S CAR. DAY GATES (CONT – V.O.) But there’s no forensics, so they are gonna need a confession.

10:48:28 INT. GATES’ CAR. DAY GATES (CONT) Your boys screwed up -- make one of them cop for it.

TOMMY mulls this over.

GATES (CONT) Triple murder hanging ...

10:48:36 INT. FLEMING’S CAR. DAY GATES (CONT - .VO.) ... round your neck. And I need a decision.

TOMMY (V.O.) I know the toe rag that'll take the fall.

GATES (V.O.) He's gonna need to know chapter and verse.

TOMMY (V.O.) He will.


GATES Tommy, I am risking my neck for you here, I’m gonna need more than that, mate.

TOMMY He was there. He did it.


50

GATES I can't carry this off if he's a nut job.

10:48:57 INT. FLEMING’S CAR. DAY GATES (CONT – V.O.) He’d better be able to take orders?

TOMMY (V.O.) He will if ...

10:49:00 EXT/INT. GATES’ CAR. DAY

TOMMY (CONT) ... I give 'em.

GATES Hey stop pissing me around. I need a simple answer, to a simple...

10:49:03 INT. FLEMING'S CAR. DAY GATES (CONT – V.O.) ... question and we’re running out of time.


TOMMY MUSIC OUT 5M19 10:49:09 For fuck's sake, he killed him, on my orders.


ARNOTT and FLEMING can barely believe it. TOMMY (CONT – V.O.) Good enough for you?!

ARNOTT MUSIC IN 5M20 10:49:13 Yes!


GATES drives on without batting an eye.

He speeds along the road.


TOMMY ponders. Tension returns.

TOMMY Good, so what d'you want in return?

GATES I want Jackie's body up in smoke.

TOMMY Problem is, she's my leverage. How about this as Plan A? You do as you're told and if you ever choose to not play ball, my boys unload Jackie's body and you go down for her murder.


51

Slowly GATES's expression turns dark.

TOMMY (CONT) Now, turn this thing around, there’s a good lad. I can still make the second tee. GATES ignores him. TOMMY (CONT) I said, turn it around! GATES ignores him. TOMMY (CONT) You bent bastard.

GATES hears that expression again.

GATES looks at him.

TOMMY (CONT) Yeah, you heard me. You bent bastard.

GATES slams on the brakes.

10:50:07 EXT. ROAD. DAY

The car comes to a sudden halt.

A row of traffic behind, everyone starts hooting.


FLEMING What's happening? What are they doing?

ARNOTT Gates. There's no way out for him.


GATES turns to TOMMY.

GATES You’re under arrest for the double murder at Greek Lane. He punches TOMMY in the stomach. GATES (CONT) For the murder of Wesley Duke. He punches him again. GATES (CONT) For the murder of Jaqueline Laverty and you do not have to say anything but it may harm your defence if you do not mention when questioned something you later rely on in court. And anything that you do say may be given in evidence. He punches him again.


52

TOMMY cries out in pain. GATES gets out of the car.

10:50:38 EXT. ROAD. DAY

GATES gets out of the car and walks away whilst the drivers in the other cars hit their horns.

Rushing towards him, from their car, are ARNOTT and FLEMING. GATES hands the car keys to FLEMING.

FLEMING I'll hold him. Back-up's seconds away.

She runs towards GATES' car.

ARNOTT reaches GATES.

ARNOTT Just go, run.

GATES Run where? He hands ARNOTT the wire tap.

ARNOTT Well it’s over, we got him!

GATES grabs ARNOTT's left arm, pulls him close and whispers to him.

GATES My wife and my girls get nothing unless this is in the line of duty.

ARNOTT looks shocked.

GATES (CONT) That’s what you owe me. This and nothing else. Do you understand? It’s for my family. I was never bent. You know that don’t ya?

He pushes ARNOTT out of the way and runs off towards the central reservation.

FLEMING turns and sees GATES, she runs towards him.

ARNOTT watches as GATES contemplates the oncoming traffic on the other side of the road.

ARNOTT Gates! Gates!

GATES steps out into the road then turns to look at ARNOTT.

An oncoming lorry beeps its horn.


53

ARNOTT (CONT) Gates!

MUSIC OUT 5M20 10:51:26 The lorry hits GATES head on.

ARNOTT and FLEMING are shocked, horrified, numb.

10:51:40 EXT. ROAD. NIGHT

The area is sealed off by a police cordon.

An ambulance is at the site of GATES' death. His body lies sprawled on a stretcher, as the PARAMEDIC covers him over with a sheet.

ARNOTT and FLEMING look on in silence as his body is wheeled off into the waiting ambulance.

FLEMING and ARNOTT walk over to the side of the road and sit. They both look exhausted.

They stand as they see HASTINGS and HILTON walking towards them.

HILTON As you were. FLEMING and ARNOTT sit back down. HASTINGS How'd it happen?

An edgy look between FLEMING and ARNOTT.

ARNOTT DCI Gates was running through traffic to apprehend the suspect. Line of duty, sir.

MUSIC IN 5M21 10:52:43 HILTON and HASTINGS look over at FLEMING, she says nothing.

HILTON I should inform his wife.


HILTON walks off.

HASTINGS Well done, you two. Well done.


FLEMING Thank you, sir.

HASTINGS moves away.


54

ARNOTT looks at FLEMING and smiles. She smiles back then leans in and hugs him.

He hugs her back. Then they both pull away and continue to sit in silence.

COTTAN walks over and approaches BUCKELLS who is leading a TOMMY over to the car with a couple of OFFICERS.

COTTAN Sir, do you mind if I get a minute with him? Just a couple of things that might help us with the Greek Lane op, non-evidential, obviously.

BUCKELLS Yeah no problem. COTTAN walks over to TOMMY and starts to move him towards the back up van. COTTAN Come on. BUCKELLS I hear you won't be calling me Sir for much longer. Congratulations, Dot.

COTTAN Thanks.

COTTAN addresses an OFFICER standing by the backup van.

COTTAN (CONT) Er DS Cottan. Do you mind if I use the back of your van for a minute? The OFFICER steps down as COTTAN ushers TOMMY up the steps. COTTAN (CONT) This way please sir. They step inside and the OFFICER closes the door behind them.

10:54:02 INT. BACK-UP VAN. NIGHT

COTTAN faces TOMMY, TOMMY looks nervous.

TOMMY I hope you've got some good advice on how to play this hole.

COTTAN Well the top brass think the Greek Lane lads were involved with Al Qaeda. So you just play along with it, in return for immunity.

TOMMY considers the value of this advice.


55

TOMMY Huh, huh, best caddy I’ve ever had, son.

He smiles at COTTAN who grins back at him.

10:54:44 EXT. ROAD. NIGHT

COTTAN steps out of the back of the van where BUCKELLS is waiting.

COTTAN I owe you a pint, Sir.

MUSIC OUT 5M21 10:54:53 He walks off, TOMMY watches him go as the OFFICERS step in and escort him back out.

MUSIC IN 5M22 10:54:53

10:54:59 INT. FLEMING'S CAR. NIGHT

FLEMING drives out of town. She wears a wistful look.

10:55:13 INT. ARNOTT'S CAR. NIGHT

ARNOTT driving.

10:55:23 EXT. FLEMING'S HOUSE. DAY

FLEMING pulls up in her car and climbs out. She opens the back door then leans in to get something out, then looks up to see her husband and son looking out the window at her.

She steps around the car just as they run out of the house towards her. She smiles as her son runs over to her and she picks him up and hugs him.

FLEMING Hello.

Then hugs her husband and they all walk into the house together.

10:55:58 INT. INTERVIEW ROOM 1. DAY

TOMMY, spinning a yarn to HILTON: ending with smiles and handshakes all round.

CAPTION: DCI Gates’ evidence against Tommy was never used.

The murders at Greek Lane and of Wesley Duke and Jackie Laverty remain officially unsolved.

COTTAN, in the windows reflection, observing.

TOMMY stops and looks up in COTTAN’s direction before he exits.

10:56:18 INT. CORONER'S COURT. DAY


56

ARNOTT waiting.

He sees OSBORNE enter and take his seat.

ARNOTT gets up and walks towards the stand: AALIYAH locks eyes with him as he passes by her.

HASTINGS, enters and nods over at ARNOTT then takes his seat.

ARNOTT takes the stand and raises his hand to take the oath; but not before glancing back at OSBORNE watching him like a hawk.

ARNOTT I swear to tell the truth ... AALIYAH watches him. ARNOTT (CONT) ... the whole truth ... BRACKLEY watches ARNOTT. ARNOTT (CONT) ... and nothing but the truth.

10:57:03 EXT. GRAVEYARD. DAY

GATES's funeral: JOOLS, NATALIE, CHLOE and MORTON stand tearfully as the coffin is lowered.

CAPTION: Tony Gates’ family received a death-in-service benefit of £107,000 plus pension for life.

The VICAR takes the service as people pay their respects. JOOLS holds onto NATALIE and CHLOE.

CAPTION: The anti-corruption case against Gates was “not proven” and has been closed.

10:57:22 INT. CORONER'S COURT. CORRIDOR. DAY

ARNOTT marches out, head held high.

CAPTION: Despite DS Arnott’s testimony, no police officers have been prosecuted for their actions before, during or after the fatal shooting of Karim Ali.

FADE TO BLACK.

10:57:35 END CREDITS ... MUSIC OUT 5M22 10:58:06

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LINE OF DUTY EP.5 POST PRODUCTION SCRIPT - …downloads.bbc.co.uk/writersroom/scripts/Line-of-Duty-S1-Ep5-UK-TX... · LINE OF DUTY EP.5 POST PRODUCTION SCRIPT . Line of Duty ... I'm